Leaving FILARMONIKA, Building Resonance

After twelve years at FILARMONIKA Music Publishing, I’ve moved on. I joined as Production Manager in 2014, became Music Publishing Manager in 2017, and served as Managing Director from 2020 through 2026. The mission — putting the music of Latin America and the Caribbean in front of orchestras and audiences — shaped how I think about programming, publishing, and whose work belongs on the stand. I’m grateful for all of it.

I left because I kept running into the same two walls, and I finally decided to do something about them.

The first wall was tooling. There is no platform built for what a sheet music publisher actually does: digital score sales, rentals, and licensing as one system. For years we made general-purpose e-commerce tools do a job they weren’t designed for, and I felt every seam.

The second wall was the model. Traditional publishing asks composers to hand over ownership of their work in exchange for distribution and fulfillment. The fulfillment is real — but so is what composers give up. Twelve years inside meant seeing that trade from every angle, down to negotiating what a percentage of a work’s future is actually worth. Long-term ownership is the thing everyone holds onto hardest — which made it harder and harder to explain why the person who wrote the music should be the one to let it go.

I tried to answer both problems from where I stood. Eventually the cleaner path was to start fresh and build the model I believed in.

So I’m building Resonance Music Press: catalog operations for composer-led catalogs. Composer and work pages, digital performance materials, licensing workflows, agreements, payments, and protected delivery — with composers keeping the rights to their own music. Digital-only by design, on a platform I’m building custom because nothing on the market does this.

It’s early — for now it’s just me. The site is live at resonancemusicpress.com, the platform is in active development, and I’ll write more here as it takes shape.